Reviews

The film’s style is eccentric, even among Milkyway Image productions. The narrative feels like a patchwork of homage sequences, some of which fall flat.

Fulltime Killer strikes for a balance between commercial appeal and artistic expression. Johnnie To aimed to draw in fans of both his mainstream and art-house work to maximize the film’s box-office sales. While the effort mostly succeeds, the commercial elements clearly take center stage, leaving his personal style a bit diluted.

As an adventure film, it’s a major letdown; as a romantic comedy, it’s neither sincere nor funny enough. It feels more like a vacation project for the leads—no matter what’s happening in the plot, their hair and makeup stay flawless.

I expected an action-adventure like Indiana Jones, but it turned out to be more of an adventure comedy. Aside from Brad Pitt and that hilarious butt scene, there’s not much else to recommend.

This was Johnnie To’s first film after joining Milkyway Image. The “heroes respecting heroes” theme and the flickering gunfight scenes at the hotel set the stage for his future classics.

A classic three-act script that maintains its signature mix of chivalry and tenderness. The portrayal of brotherhood shines, making the whole story deeply moving.

Blending a zombie flick with a musical video is certainly an ambitious stylistic experiment, and the songs are fantastic. However, from a narrative perspective, it never quite lands as either a zombie film or a coming-of-age film.

All I can say is the songs are catchy and the lead is beautiful—nothing more.

Actually, it’s a solid film that portrays lives lost in desire. It weaves love, sex, mystery, and crime into a rich tapestry. However, its explicit content can be distracting, making it hard to focus solely on the story.

This movie makes one thing clear: if you want to commit murder, you better be handsome and fit.

I haven’t read Jimmy Liao’s original, but this film once again shows that Milkyway Image isn’t strong at adaptations. Despite noticeable improvement, the adaption is still lacking in significant ways. The story’s fairy-tale vibe feels forced in several spots.

The film is fairly average, but the three lovely songs, with Taipei’s cityscape, and the leads’ good looks create a nostalgic vibe. I thought the post-quake embrace was the finale, but the true ending is the scene that showed two umbrellas by the door.

It’s got that signature Johnnie To style in atmosphere and pacing, but the plot feels too weak to hold it all together. The shooters display perfect aim in empty rooms, yet somehow fail to hit their target when it really matters.

For Johnnie To, plot often takes a backseat to stylish gunfights. This movie shows he’s evolved to the point where he can make a film without relying on the storyline.

This hidden gem I stumbled upon doesn’t rely on flashy visuals but instead cleverly builds tension through scenes where characters outsmart the creatures. It’s genuinely compelling!

The ’90s' special effects might seem rough by today’s standards, but they don’t detract from the story’s flow or fun. The film moves at a brisk pace, diving straight into the action without making us guess what the creature looks like for too long. As a B-movie monster flick, it’s perfect for a casual watch.

Personally, I actually enjoyed it—I don’t know what others were expecting. The story is inventive and cohesive, the acting is solid, and it even delivers a touch of warmth. It beats those hollow, theme-less flicks by a long shot.

This movie hits every mark of a failed thriller: muddled logic, a sluggish pace, vague storytelling, and an absurd plot. It’s hard to believe it’s based on a Stephen King novel. The first half offers almost no information, and the director seems utterly lost when it comes to storytelling and pacing, leaving the whole thing feeling nonsensical.

As Hong Kong’s box-office champ that year and one of Stephen Chow’s signature hits, the story is engaging, and Anita Mui shines in a role with real substance. Still, I have to say that I found his later film Hail the Judge even more entertaining.

This is not just a comedy, but also a film that reflects reality. Sure, there’s the usual comeuppance for the villains, but the story never feels over the top. I was surprised to learn that it was directed by Johnnie To!